Piano Sonata No. 28 A major op. 101

Klavier Violine und Violoncello

Wissenschaftliche Gesamtausgabe

Lieder Und Gesange Mit Klavierbegleitung

Sinfonias 1761-1763 With Critical Report Paperback

Sinfonias About 1775/76 (With Critical Report)

Concerto for Horn and Orchestra No. 3 E flat major

Frédéric Chopin’s 4 Scherzi are high points in the Romantic piano repertoire. Chopin here takes a traditional genre and fills it with radically new content. They are wild demonic in tone and there is little about them that is joke-like despite the original meaning of their title. Referring to the 1st Scherzo Robert Schumann asked: “how should seriousness be attired when even a ‘joke’ is veiled in black?”. Now that the Scherzi nos. 1–4 have been published in revised stand-alone editions G. Henle Publishers is now offering all four in paperback and hardback in an edition that reflects the current state of Chopin research. Both the footnotes and the extensive CriticalReport on the Internet offer detailed information on the familiar topic of “Chopin variants” and on all the textual problems they raise. This is Chopin in top form!

Sonate Op.120 No.1

Symphonies No. 1 And 2

The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity “The Miracle” was bestowed erroneously for the miracle – that no one was injured when a chandelier fell during a concert – took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity “The Miracle” was bestowed erroneously for the miracle – that no one was injured when a chandelier fell during a concert – took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Oboenkonzert D-dur

Studies Op. 18

Violoncello Sonata G Minor Op. 5 No. 2

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings – a who’s who” on the contemporary piano scene. G. Henle Publishers now presents this classic revised and with a new look to all pianists in the certainty that Haydn’s sonatas will further cement their place in the world of music. Volume II contains three sets of six sonatas each more famous than the last and all replete with delightful thematic ideas – it is here one finds the core of Haydn’s sonata production which amateurs and professionals alike simply cannot do without!

Six Duos (op. 48) for two Violins-These easy duets were published around 1796/97 by Pleyel’s own publishing house both as Six Duos faciles et progressives for two violins and as Six nouvelles Sonatines progressives for piano and violin though we do not know today which version came first. To this day the violin duets are favorites for use in violin lessons but also for making music at home. Though lesser known today around 1800 Ignaz Pleyel numbered among the most popular composers in Western Europe - which may at first come as a surprise but which to judge from these very appealing pieces manageable for advanced beginners is easily understandable. With an unmarked score and two marked solo parts the Urtextedition provides optimal material for use in teaching.

Edition without fingering-The revision of the three-volume edition of Haydn’s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure” Urtext free from added fingering suggestions will now also find these in the Henle catalogue. Volume I contains Haydn’s early sonatas very much still born of the spirit of the early Classical period: catchy music fun to play often at a moderate level of difficulty without which modern piano instruction would be nearly unthinkable. Time and again the authenticity of individual sonatas from this group has been questioned – the preface by Armin Raab the Scholarly Director of the Joseph Haydn Institute now provides comprehensive information on new findings regarding this important topic area.

Edition without fingering-The revision of the three-volume edition of Haydn’s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure” Urtext free from added fingering suggestions will now also find these in the Henle catalogue. Volume II contains three sets of six sonatas each more famous than the last and all replete with delightful thematic ideas – it is here one finds the core of Haydn’s sonata production which amateurs and professionals alike simply cannot do without!

Symphony in Bb major Hob. I:102-The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The energetic surging B-flat-major Symphony no. 102 belongs to the group of the last three symphonies premiered in early 1795. Exceptionally Haydn here dispenses with the clarinets that are otherwise generally featured in his late symphonies. The instrumentation of the Adagio is also unusual in that Haydn includes trumpets and timpani both muted. This study edition adopts the musical text of theHaydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Symphony in Eb major Hob. I:103 (Drumroll)-The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The E-flat-major Symphony no. 103 was composed in 1795 as the penultimate of the London Symphonies. It owes its epithet to its unique beginning: a solo drumroll in the timpani ushers in the slow introduction. This opening bar marked with Haydn’s heading Intrada” and a pause even inspires many a performer to venture a short timpani improvisation. This study edition adopts the musical text of the HaydnComplete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.